JIANG WENYE’S PIANO SONATAS AS THE EMBODIMENT OF THE COMPOSER’S ORIGINAL STYLE

Abstract

The article analyzes in detail the Piano Sonatas of the Chinese composer Jiang Wenye, which demonstrate his original mastering of this classical form in the process of formation of his own creative style. It is proved that the basics of sonata formation are tested in them. It is noted that despite the use of the principles of variation, rondality, Jiang Wen’s sonata handicap was the sonata suite. It is characterized by features of programming. Jiang Wenye’s sonatas on the harmonic and timbral levels are close to the pictorial sound painting of impressionism with its absolutization of a specific moment, the state of nature. At the same time, the interpretation of sound imagery has distinct national signs identified in the choice of the appropriate structure of the Sonatas and principles of development of the material, specific melody (based on traditional pentatonics), vocal (in Sonata No. 4 – intonations of a widely popular folk song) or instrumental nature (in Sonata or. 52 imitations of the sound of the traditional musical instrument Guzheng, achieved by similar methods of extracting sounds).